This year’s event will be held at the studios of Jesse Pierson and Dave Gonzales in SE Portland.

There will demonstrations, an art exhibition and refreshments. In the works as well will be a demonstrta-tion of the Oculus virtual reality system and how it may be applied to sculpture. Previous newsletters have touched on this area so we are curious to see what Jessie and Gonzo have worked up.

Sculpture Day has become a “thing” for us since we first par-ticipated in April 2016. That first year was located at the Roll-Up Gallery in SE Portland and featured 5 minute artist speed talks, a dance performance and lastly a dance party with DJ Henry. See the June/July 2016 newsletter for more.

2017 saw us expand from the Roll-Up Gallery into two adjacent locations. This year also featured a dance performance, this time the Tango as well as artist talks, dem-onstrations, a sculpture exhibition, a tour of Julian Voss Andreae’s studio and yes, a dance party, this time with a live Portland band; Aftershock. More info here: May 2017 Newsletter.

Sculpture Day 2019

2018 saw the festivities move to The Cave Gallery in Vancouver, Wa. Once again there were art-ist talks, a sculpture exhibition and demonstrations. There was no room for a dance party but the owner of a vacant storefront next door donated that space for inter-active exhibits. The May 2018 newsletter has many images from that event.

Big Kudos to Gonzo and Jesse for host-ing this year’s Sculpture Day event. It is not the easiest thing in the world to do, to arrange all those details generated by some good

ideal. Sadly, the dancing unicorns were caught up in a nasty political scandle and have been detained.

Speaking of Jesse Pierson, he is our newest board member having consented at the last board meeting to join our dark little coven. Seri-ously Jesse has enthusiasm for the possibilities of PNWS, marketing chops, social media skills and it appears he has the most precious aspect; energy. He’ll be a force I think.

There are negotiations for a short sculpture exhibition venue dur-ing the conference. Initially my thinking was a 30 event would be best considering the logistics of transport and the installation of large pieces. However due to Bob Dale’s efforts there may be an in-door venue, perhaps even donated, across the street from the Portland Art Museum. It is not available but for the duration of the confer-ence but it is across the street. Any signage would be visible from the museum steps. There is also an effort by Past President Carole to have an outdoor exhibition just out the front door in the Park Blocks. I can hardly grasp how cool that would be to have both.

The annual meeting is tenatively set for May. Date and location be-ing determined.

Thanks to All,George Heath

Upcoming MeetingsBoard MeetingFriday May 3rd 10:00amSkype or in person at:4326 SE Ogden.Portland, OR 97206

Member MeetingSat. April 27th 7:00pmPierson and Gonzo Studio1810 SE Franklin, Portland

4110 SE Hawthorne Blvd. #302Portland, OR 97214 (mail drop, no office)www.pnwsculptors.org

The Pacific Northwest Sculptors Newsletteris published monthly by PacificNorthwest Sculptors, a 501(c)(3) nonprofitorganization dedicated to serving thepublic through educational programs andsculpture exhibitions. We are a dynamic,inclusive community of artists who inspireand support each other’s growth withideas, skills, and knowledge.PNWS Board of Directors George Heath, President Shelly Durica-Laiche, Secretary /Treasurer Dave Gonzalez Sam Hingston Sue Quast Jesse Pierson Chas MartinNewsletter George Heath Editor, Design & Layout 503-777-2769 gheath6006@msn.comMembership Coordinator Sue QuastWebsite George Heath, 503-777-2769 gheath6006@msn.comMeetings/Educational Coordinator Laurie Vail, 503-830-0149Shows Chas Martin 503-459-1009Materials and Equipment Sam HingstonPublicity: OpenVolunteer Coordinator Dave Gonzales Call for Artists Coordinator Chas MartinPNWS Email Notices George Heath gheath6006@msn.comSocial Media Coordinator Shelly Durica-Laiche

EDITORIAL SUBMISSIONS:Send to: gheath6006@msn.comSubmissions are due on the 22nd of the previous month for any issue. There is no December issue.

Scan withsmartphone forour website:http://www.pnwsculptors.org

PS:Any text surrounded by a box im-age taken from a video is an active link.

Thanks to Bill Leigh and Terri Elioff for the wonderful temple images.

Video is a tremendous way to introduce your sculpture to the world. There’s a very real chance that more people will see your art via video and the internet than will ever see it in real life.

While working on a public art com-mission for TriMet, I had both the opportunity and budget to create my first sculpture video on the in-spiration, creation and installation of To Grandmother’s House. I hired a talented young videographer, Eric Nordstrom of PPAV. He came to my studio, filmed for a bit, and later sent me a rough draft.It was a cold wake up to realize that I couldn’t use any of it.

I called Eric and postponed our next meeting. There’s a lot that goes into creating even a very short video. Be prepared so you don’t

waste time, (yours and your vid-eographer’s) and money, (yours!) It took me two weeks to write down everything the video needed and how to get it done. Here’s what I came up with:Write the script What story are you telling? Where does it begin, what does it say, and how does it end? Storyboard the shots: I used 3 x 5 inch cards with quick drawings of how I wanted the art seen. You are the expert on your art and want to share its best aspects to your audi-ence. I taped the cards end to end so I had a fold out book for quick reference. It’s easy to get flustered or loose track of goals when the camera is rolling.Be a location scout: Nothing is more distracting than distracting backgrounds. It’s a good reason to clean your studio or at least your workbench. It can be as simple

as finding a blank wall or green hedge outside. Is it quiet enough to have good recording sound? If not, you’ll need to plan and record a voice over. For maquettes and small sculpture consider shoot-ing them against the sky or distant background.Control the lighting: Lighting is critical. While working on my video, we discovered how powerful it is to just move your light source. It gave a powerful sense of move-ment and revealed new details.. You don’t need fancy lights (they help) but you do need to know what your lights can and can’t do. If they’re LED, are they warm enough so the video and your art isn’t that cold blue? A simple turn table can show the work well. The camera sees differently than human eyes. If you’re showing

Sculpture and Video-Patrick Gracewood

Sculpture and Video cont. pg 4

Member DiscountsArtist and Craftsman SupplyFirebird BronzePearl PackingFarwest Materials (See your mem-bership packet for password)ADXCourtney Frisse PhotographerFiberlayGeorge Heath Websites & Image Correction Jenny Stoffel Websites and Online Galleries

Sculpture and Video cont.

bronzes, avoid glaring high lights. A little wax can dull that shine and easily buff off later. Direct: tell my videographer what needs to be accomplished, go over the storyboard with him or her, listen for suggestions s/he has for improvements.Help edit the final version. I don’t have time to learn another skill which is why I hired a professional videographer. Filming is one skill, editing is another. Eric presented me with a rough cut version that we jointly edited to get the best story.

Last but not least, You get to be the artist. Did you forget to write down what you want to say? Go back to step one. Write it and then rehearse speaking it out loud. It’s not hard but it does take practice. Like any story, it gets better with the telling, and is a skill you can use whenever you talk about your art. People want to hear what you have to say about your art. They just don’t want to wait around while you struggle to find words….It can be disappointing to see yourself and even more to hear yourself speaking. What helped me was remembering “It’s not about me. It’s about my art.” Relax, give it your best, AND shoot it several times. Editing can select the best version, even splicing different takes together.Now that you have a video, let the world know or your website, blog, and social media.

Detail from Orpheous and Euridice

Videographer Eric Nordstrom of Portland Performing Arts Video filming for Patrick Gracewood

Gateway Crating and Packaging Inc.Southern Oregon Soapstone Co.LLCStephen Funk Photography LLCInternational Sculpture CenterGeorgie’ Ceramic and Clay Co.Bronzestone

Contact information for the listed companies can be found at: http://pnwsculptors.org/dis-counts.htm

Rip and Alison Caswell Sculpting in Chiang Rai, Thailand

Temples of CambodiaImages and notes by Bill Leigh and Terrie Elioff

Recently members Bill Leigh and Terri Elliof returned their home on the big island of Hawaii from a trip through SE Asia. Both took amazing pictures of the temple complexes in Cambodia which they shared on Face-book and have allowed me to reproduce here. Enjoy.

Banteay Srei temple, Siem Reap, Cambodia. Also known as the Lady Temple as it is made of pink sandstone. It is a 100 years older than Angkor Wat. The carvings are amazing and can be dated through the writings that are still visible on a stone tablet.

Banteay Srei

Banteay Srei

Angkor Thom

Ankor Wat

Ta Prohm